Red Mosquito

Something (based on reviews and 30 second clips and the phone recordings, so not nothing, but not everything) I'm really looking forward to is that he really seems to have locked into that really precise soaring sweet spot in his range that he does better than just about anyone. For as much as I love a great Eddie scream, it's really that precise moment that gets me every time. that's my pearl jam. And it's all over this, I think

unLEASHed wrote:

Arthur Morgan wrote:

unLEASHed wrote:For all the raving reviews on Matt and Mike, I dont think any review did Ed justice…I mean, the guy gets praise on LB and Backspacer from the critics, and nobody gives a note on how much he soars on the album.

Loooonnnnngggg time lurker, but the new album inspired me to create an account and get in on the fun!

I totally agree with this comment. Ed’s voice has changed for sure but he is still a great singer with very good range. And other than one part on React, Respond and maybe WFS, if I’m remembering correctly, he doesn’t seem to push his voice. His voice is right in a safe pocket. Imagine this was considered during the recording process- making sure they were in the best key for him. Can’t wait to hear these songs live, should be interesting. Hopefully the band rehearses a little.

I dont think he is not pushing it, he is pushing his voice in alot of places, WFS, Dark Matter, Setting Sun (second part), most outros of the songs, he is belting some screams here and there.

My point was more the way he was pushing it, someone else talked about the monosyllabic lyrics making it easier, I agree, but also, hes pushing notes within his range, accepting the more raspier voice, instead of going “Got Some” on it (which for me is one of his worst vocals on an album.

He made great choices in this I think, but showing more power than in any of the 3 albums before.

Yes he does soar quite a bit. When I say pushing I mean screaming, which he has lost to a great extent. On this album I agree he is pushing within his range which hopefully will keep his voice from tiring. Which you can hear in the 23 boots, he gets hoarse.

stip wrote:Something (based on reviews and 30 second clips and the phone recordings, so not nothing, but not everything) I'm really looking forward to is that he really seems to have locked into that really precise soaring sweet spot in his range that he does better than just about anyone. For as much as I love a great Eddie scream, it's really that precise moment that gets me every time. that's my pearl jam. And it's all over this, I think

If you like that then you’re gonna love this album my friend

Clem Halibut wrote:

tragabigzanda wrote:Shocked at the very notion that a spoiled rich kid might have some expensive toys he doesn’t actually know how to use

Sounds like he's quite capable of using this equipment.

Caught the Earthlings tour and the guy can play.

Doubt Sir Paul, Sir Elton, Sir Mick, Sir Keith or Sir Eddie would work with him if he was the hack you make him out to be.

I mentioned earlier if watt is really such a lifelong pj fan there’s no way he doesn’t have an RM account.


I think we just found it.

TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

Still very early and I haven’t heard the final product but excited for what it will bring.

stip wrote:Something (based on reviews and 30 second clips and the phone recordings, so not nothing, but not everything) I'm really looking forward to is that he really seems to have locked into that really precise soaring sweet spot in his range that he does better than just about anyone. For as much as I love a great Eddie scream, it's really that precise moment that gets me every time. that's my pearl jam. And it's all over this, I think

Seems like it from the 30 second clips (that’s all I’ve listened to). Yes yes yes.

tragabigzanda wrote:

jdopj wrote:

tragabigzanda wrote:

RockPusher wrote:This album has absolutely stolen my heart. On my 6th or 7th listen, I got it even more than before and I cried during WFS and Setting Sun. They really set the controls for the heart of the sun on this thing.

Just to clarify, you’re talking about the cell phone recordings?

I really respect your point of view Trag but your judgement of a song or album is rooted in your vast experience. Where a lot of us care about the emotion or the song and not how it was produced or recorded. Both are acceptable viewpoints of art.

I think a lot of fans’ attachment begins and ends with Eddie’s voice, and from that perspective I could see why one might LOVE this album.

I dont think its that simple, for some people maybe, but Eddies voice (and delivery above all) is one of the best instruments of the band, when used correctly it pushes all the song to another level. This may not matter for some bands, not so vocal driven, but it is what it is.

I just said it in another post, i fucking hate his choices in Got Some and on most of the spritzier Punkish fetish songs he makes. He does not shine and actually pushes some cool music down.

E.H. Ruddock wrote:I wonder if they filmed this album session? Would be cool to get a nice little documentary out of it

That would be great.


Learning that the album was recorded in LA makes sense now too.
Some weird nod to all that 80s hair metal production

It’s the air and water down there. LA is a shithole

Vindicator wrote:The album is great and I want to note an note observation I made, and it's that a big improvement on this over Gigaton is Ed's use of single and 2 syllable words, vs the word salad 3-4 syllable words he was using on Gigaton (words like Dissertations, Conjecture, Despondency, and more)


Just look how powerful and singable the line from Waiting For Stevie is, " You can be loved, by every one, and not feel loved "

Again on Scared of Fear "we use to laugh, we used to sing, we used to dance, we used to believe "


Almost entirely single syllable words. So much better.

So glad to hear this is the case! No indications of word salad yet!!!

Buby wrote:TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

I am a huge Gigaton fan, and this is highly different but quality wise at least I think on par from even just the phone recordings. But a totally different beast. Like reverse yin and yang in the way Yield and Binaural would be hanging out together (Gigaton would dress up as Binaural in that scenario).

Buby wrote:TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

There's a bunch of facebook groups full of whackos for that.

stip wrote:its pretty jarring going from the bootleg to the 30 second clips


i am unable to make it to a screening so im looking forward to everyone’s reviews

How so?the bootleg sounds better?


Well yeah

stip wrote:its pretty jarring going from the bootleg to the 30 second clips


i am unable to make it to a screening so im looking forward to everyone’s reviews

In what way? Good or bad?

liebzz wrote:

Buby wrote:TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

I am a huge Gigaton fan, and this is highly different but quality wise at least I think on par from even just the phone recordings. But a totally different beast. Like reverse yin and yang in the way Yield and Binaural would be hanging out together (Gigaton would dress up as Binaural in that scenario).

Yeah…I agree, also a Gigaton and Binaural fan…however, Upper Hand has massive Binaural vibes. But yeah its kind of a different flavour, both great.

Buby wrote:TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

I was thinking about that. I had predicted that Dark Matter would be the S/T to Gigaton's Riot Act, but someone else made the same analogy with Gigaton's No Code to DM's Yield. And that feels more accurate.

If I had to make a prediction, I think this will probably end up slotting below Gigaton in the end (which, to be fair, is my number 4 overall in the rankings. I hold Gigaton is exceedingly high esteem), which seems to have more sonic variety overall, and is probably a little more careful of a record. But I think this will be more fun, will probably have more high spots, has about 10x the number of Mike solos, and has the band doing some things I wasn't sure they still had in them.

Buby wrote:TBH all the gushing has me all kinds of excited. Not excited enough to settle for a phone recording on a first listen, but pretty fucking hard.

Where would DM land for a guy who believes Gigaton was their best since Binaural?

Asking for a friend.

I liked Gigaton. There are really great songs on it. DOTC and QE are god tier PJ songs to me and although I’m not sure if there is a single song better than those two, my initial gut is this album is simply better. There is an energy in the recording. The song structures are not as predictable. There are effects that sound a little U2 and Duran, Duran-ish at times. But it’s a PJ record. It’s definitely captures the live energy. And the vinyl record sounded very balanced to my ears.

Overall it’s just a better album.

Duplicate

Fattie_Vedder wrote:

stip wrote:its pretty jarring going from the bootleg to the 30 second clips


i am unable to make it to a screening so im looking forward to everyone’s reviews

In what way? Good or bad?

Neither? I suppose more good then bad. You are doing a lot of the heavy lifting with that phone recording, and so then to actually hear the songs you realize how much wasn't there for you to hear. And I suppose it comes down to how much more or less awesome what you slotted in is compared to what's there


Waiting for Stevie opened up for me in a big way even in those 30 seconds, for instance. But I think what i'm envisioning for react/respond in my head may have just been a little cooler. But you're also at the mercy of what 30 seconds those songs are from. The React/Respond clip is not from my favorite part of the song

stip wrote:someone else made the same analogy with Gigaton's No Code to DM's Yield. And that feels more accurate.

Yes, I had initially been going with the other analogy, but this one feels more appropriate.